iTextiles - Types of Prints Types of Prints Prints are divided into applied (including blotch and overprint), discharge, resist, and other prints based on the method used to create the design. Flocking (flock print) and burn-out, categories included as aesthetic finishes, are sometimes classified as prints. Applied Prints Prints where a dye or pigment paste is applied to the surface of a fabric are known as applied prints. Block, roller, and screen printing methods are used to create applied prints. Applied prints are the most common; block, roller, and screen printed fabrics are produced by applying dye or pigment paste to a fabric surface. Fabrics printed with dye paste are commonly known as wet prints because water is used for aftertreatments. Fabrics printed with pigment paste, commonly known as pigment prints, require heat to dry and cure the resin binder. Applied prints are produced on white and colored backgrounds. Applied prints with a colored background can be printed as blotch or overprint. Blotch prints are prints that have a background and pattern printed at the same time. White areas are visible at the back where the dye has not penetrated (including the background color). The majority of printed fabrics with a colored background are blotch prints.

Overprints are prints where the pattern has been printed on previously dyed material. The fabric back of an overprint fabric has the dyed background color similar to the fabric face. The background color in designs of the overprint fabrics is always lighter, if dyes are used for printing. Pigments are used for printing lighter colored designs on a darker background. Overprint fabrics may cost more as the fabrics are both dyed and printed. The clarity of the pattern on the fabric back of applied prints is dependent on dye/pigment penetration. The pattern may appear similar on the fabric face and back of sheer fabrics with excellent dye penetration. In thicker, tightly constructed fabrics, the design may not be visible at all on the fabric back due to poor dye penetration. Duplex (print on both sides of the fabric) and warp prints (printing of yarns on a warp beam prior to weaving), and foil prints (application of foil instead of dye or pigment) are variations of applied prints. Discharge Prints Prints where the color is removed to create the design are known as discharge prints. Discharge printing is used to create prints that have a background darker than the design. Block, roller, and screen printing methods are used to create discharge prints.

The initial step is piece dyeing the fabric using a dye that can be stripped away to create the design. Fabrics made of cotton, rayon, or other cellulosic fibers that have been piece dyed with reactive dyes are often used for discharge printing. To create a simple two-color print, the design area is printed with a print paste containing a chemical that strips or removes color so that the background color is visible. To create a print with additional colors, print paste includes a combination of a chemical (to strip color) and a dye or pigment (to recolor the area where the color was stripped). Only colorants that are not affected by the chemical can be used to recolor the fabric; pigments are often used for this purpose. Care is taken to prevent the stripping chemical from weakening the fibers of the fabric. Resist Prints Prints are created by using techniques to prevent the dye from penetrating through the design area of the fabric. Some of the techniques used to prevent dye penetration are the application of wax/resist paste and tying/folding of fabrics prior to dyeing. Tie-dye, batik, ikat and wax printing methods create resist prints. Wax printing is a mechanized method to create resist prints.

In wax prints, two engraved copper rollers with mirror images of the design are used to apply wax on both sides of a fabric prior to dyeing. Prints are created by using techniques to prevent the dye from penetrating through the design area of the fabric. Note: Wax prints are popular in West African countries. Other Prints Photographic prints are created using techniques similar to developing photography. A negative image is placed over a fabric containing a light-sensitive colorant and the fabric is exposed to light to create the design. Transfer prints are created by using heat to transfer color from paper to fabric. Foil prints require a combination of screen and thermal printing processes. Glossary of Fabric Terms - Fabric - Store A manufactured fiber, its major properties include a soft, wool-like hand, machine washable and dryable and excellent color retention. Alpaca A natural hair fiber obtained from the Alpaca sheep, a domesticated member of the llama family. Angora The hair of the Angora goat. Also known as Angora mohair. Angora may also apply to the fur of the Angora rabbit.

Antique Satin A reversible satin-weave fabric with satin floats on the technical face and surface slubs on the technical back created by using slub-filling yarns. It is usually used with the technical back as the right side for drapery fabrics and often made of a blend of fibers. Batik A method of dyeing fabric where some areas are covered with wax or pastes made of glues or starches to make designs by keeping dyes from penetrating in pattern areas. Multicolored and blended effects are obtained by repeating the dyeing process several times, with the initial pattern of wax boiled off and another design applied before dyeing again in a new color. A lightweight, plain weave fabric, semi-sheer and usually made of cotton or cotton blends. Appropriate for heirloom sewing, baby clothes and lingerie. Bedford Cord A cord cotton-like fabric with raised ridges in the lengthwise direction. Since the fabric has a high strength and a high durability, it is often used for upholstery and work clothes. A fabric with a crosswise rib made from textile fibers (as rayon, nylon, cotton, or wool) often in combination.

Boiled Wool Felted knitted wool, it offers the flexibility of a knit with great warmth. Create your own by washing double the needed amount of 100% wool jersey in hot water and drying in a hot dryer. Expect 50% shrinkage. Appropriate for jackets, vests and stuffed animals. Blackout A type of fabric that is commonly used for drapery, this fabric has the distinctive quality of blocking light, and comes in two forms: 2-pass and 3-pass. Two-pass has two “passes” of foam on a fabric, which means the black layer of foam will be visible. 3-pass has two layers of white and one layer of black foam. Three-pass can also be used as an upholstery fabric, as the black layer is not visible. Blackout fabrics can also be insulating and noise-dampening. Buckram A very stiff cotton fabric that is been soaked in a substance to fill in the gaps between the fibers. The fiber is usually cotton and is finished with starch and resin. Buckram fabric is most commonly used as the supporting material inside of baseball caps. It is also used in lady's hats, costumes, belts, and handbags.

A loosely constructed, heavy weight, plain weave fabric. It has a rough hand. Appropriate for draperies and decorative items. Burn-out Velvet Created from two different fibers, the velvet is removed with chemicals in a pattern leaving the backing fabric intact. Appropriate for more unconstructed and loosely fit garments. Chenille The French word for caterpillar, this soft fabric is created by placing short pieces of yarns between core yarns and twisting the yarn together to make a fabric. This fabric is commonly used for baby items and in home décor fabrics. Chantilly lace This lace has a net background, and the pattern is created by embroidering with thread and ribbon to create floral designs. The pattern has areas of design that are very dense, and the pattern is often outlined with heavier cords or threads. Charm Quilt A quilt made of many, many small patches (traditionally 2" or so) where each piece is a different fabric. The pattern is usually a one-patch design and often involves swaps and trades with friends to gather many fabrics. Charmuese A luxurious, supple silky fabric with a shiny satin face and a dull back. Generally either silk, rayon ,or polyester. Suitable for blouses, fuller pants and lingerie.

Cotton a white vegetable fiber grown in warmer climates in many parts of the world, has been used to produce many types of fabric for hundreds of years. Cotton fabric feels good against the skin regardless of the temperature or the humidity and is therefore in great demand by the consumer. Used to describe all kinds of fabrics--wool, cotton, silk, rayon, synthetics and blends-that have a crinkle, crimped or grained surface. Crepe Charmeuse A smooth, soft luster fabric of grenadine silk warp and filling, with latter given crepe twist. It has the body and drape of satin and is used for dresses and eveningwear. Crepe de Chine Silk crepe de chine has a slightly crinkly surface create with highly twisted fibers. It comes in three weights: 2 ply, appropriate for blouses and lingerie; 3 ply, appropriate for dresses, fuller pants and dresses; and 4 ply, most luxurious and best for trousers and jackets. Crepe-back Satin A satin fabric in which highly twisted yarns are used in the filling direction. The floating yarns are made with low twist and may be of either high or low luster.

If the crepe effect is the right side of the fabric, the fabric is called satin-back crepe. Crewel A true crewel fabric is embroidered with crewel yarn (a loosely twisted, two-ply wool) on a plain weave fabric. Traditional crewel fabrics are hand-woven and embroidered in India. The design motif for crewel work is typically outlines of flowers, vines, and leaves, in one or many colors. Modern weaving technology and inventive designers create traditional "crewel" looks with weave effects alone, without the use of embroidery. Crocheted Denim A twill weave cotton fabric made with different colored yarns in the warp and the weft. Due to the twill construction, one color predominates on the fabric surface. Suitable for pants, jackets and skirts. Pre-wash and dry 100% cotton denim at least twice to eliminate shrinkage and color bleeding. Dimity A lightweight and sheer cotton fabric that features a raised texture. Usually seen in light colors, but occasionally printed as well. Dimity fabric is commonly used in window treatments, draperies, and heirloom projects. A decorative weave, characterized by small figures, usually geometric, that are woven into the fabric structure.

Doeskin Generally applied to fabric with a low nap that is brushed in one direction to create a soft suede-like hand on the fabric front. Great for tops, pants and fuller skirts. A lightweight, sheer cotton or cotton blend fabric with a small dot flock-like pattern either printed on the surface of the fabric, or woven into the fabric. End-uses for this fabric include blouses, dresses, baby clothes, and curtains. Double Cloth A fabric construction, in which two fabrics are woven on the loom at the same time, one on top of the other. In the weaving process, the two layers of woven fabric are held together using binder threads. The woven patterns in each layer of fabric can be similar or completely different. A weft knit fabric in which two layers of loops are formed that cannot be separated. A double knit machine, which has two complete sets of needles, is required for this construction. Double Rub Double rubs measure a fabric’s abrasion resistance, determined by the Wyzenbeek test. Each “rub” is one back and forth pass over a stretched piece of fabric by a mechanical arm. The test is run until the fabric shows noticeable wear.

Consider the double rub count when purchasing upholstery fabric for a high-traffic area in your home. Drill Strong, medium- to heavyweight, warp-faced, twill-weave fabric. It is usually a 2/1 left-handed twill and piece dyed. A sheer, open-weave fabric usually cotton or silk. It is suitable for blouses, dresses and curtains. Georgette A drapey woven fabric created from highly twisted yarns creating a pebbly texture. It is semi-sheer and suitable for blouses, full pants and flowing dresses. A medium weight, plain weave fabric with a plaid or check pattern. End-uses include dresses, shirts, and curtains. Gossamer Very soft, gauzelike veiling originally of silk. Grois Point A fabric which features large points of yarn on the surface of the fabric. Grosgrain A tightly woven, firm, warp-faced fabric with heavy, round filling ribs created by a high-warp count and coarse filling yarns. Grosgrain can be woven as a narrow-ribbon or a fullwidth fabric. A fabric, usually handwoven which has been tie-dyed in the yarns prior to weaving.

The pattern can range from simple little dots to intricate double ikats. Interlining An insulation, padding, or stiffening fabric, either sewn to the wrong side of the lining or the inner side of the outer shell fabric. The interlining is used primarily to provide warmth in coats, jackets, and outerwear. Also known as T-shirt knit. It usually has stretch across the grain. Great for tops, skirts and lightweight pants. Irish Poplin There are two types of Irish poplin: (1) Originally a fabric constructed with silk warp and wool filling in plain weave with fine rib. (2) Fine linen or cotton shirting also made in Ireland. Sometimes used for neckwear. Knit Fabric Fabrics made from only one set of yarns, all running in the same direction. Some knits have their yarns running along the length of the fabric, while others have their yarns running across the width of the fabric. Knit fabrics are held together by looping the yarns around each other. Knitting creates ridges in the resulting fabric. Wales are the ridges that run lengthwise in the fabric; courses run crosswise.

Knit-de-knit A type of yarn texturizing in which a crimped yarn is made by knitting the yarn into a fabric, and then heat-setting the fabric. The yarn is then unraveled from the fabric and used in this permanently crinkled form. Napped Napped fabric has a surface texture with an added visual appeal, and is frequently featured in flannel, corduroy, velvet, and satin. The napped texture creates soft, heavy, and warm qualities, making it perfect for shirting, sleepwear, and baby blankets. Double napped fabrics are brushed on both sides, while single-napped is only brushed on one side. When sewing with fabrics with a distinct nap, be sure to allow for extra fabric, and lay all of your pattern pieces going in the same direction. Refers to any open-construction fabric whether it is created by weaving, knitting, knotting, or another method. Noil Noil is a short fiber that is left over when combing longer fibers during textile production. Silk noil fabric is created from taking the leftover noils from spinning silk to create an overall raw silk fabric that features a gentle drape, slightly nubby, uneven texture, and dull surface.

Noil fabric is perfect for creating loose-fitting jackets, skirts, dresses, and home décor accents. Ottoman A heavy, plain weave fabric with wide, flat crosswise ribs that are larger and higher than in faille. It sometimes comes with alternating narrow and wide ribs. When made of narrow ribs only, it is called soleil. Warp may be silk or manmade fiber; filling may be cotton, silk, wool, or manmade fiber. Used for dress coats, suits, and trimmings. Outdoor Outdoor fabric is used to recover cushions, pillows, create awnings, and more for spaces exposed to nature’s elements like the sun and rain. Created with polyester or acrylic fibers, outdoor fabric is durable, soil and stain resistant, and can be cleaned by wiping with a damp rag. Panel A panel is a cotton print that can be used for anything from quilt projects to aprons, doll clothes, or soft books. Most commonly used in quilting, panels feature a large design that is often featured in the center of a quilt, making it perfect for themed projects. Some panels also feature instructions and cut-outs for projects like an apron or book.

Panné Satin Lightweight silk or manmade fiber satin fabric with very high luster achieved with aid of heavy roll pressure. Crushes easily. Used for eveningwear. Panné Velvet A lustrous, lightweight velvet fabric, in which the pile has been flattened in one direction. Has good stretch across the grain. Appropriate for tops and dresses. A soft fabric with a brushed texture similar to the skin of a peach on one side, with a good amount of drape. Peachskin is often used to create blouses, skirts, and dresses with a lining. Peau de Soie A heavy twill weave drapeable satin fabric, made of silk or a manufactured fiber, and used for bridal gowns and eveningwear. Pima Cotton A type of cotton plant developed in the Southwestern USA from a cross between Egyptian and Uplands cotton which is longer in fiber length and more lustrous than most American cottons. It is used to weave some of the popular quilting fabrics which have a silk-like hand. Plissé A lightweight, plain weave, fabric, made from cotton, rayon, or acetate, and characterized by a puckered striped effect, usually in the warp direction.

The crinkled effect is created through the application of a caustic soda solution, which shrinks the fabric in the areas of the fabric where it is applied. Plissé is similar in appearance to seersucker. End-uses include dresses, shirtings, pajamas, and bedspreads. Plush A compactly woven fabric with warp pile higher than that of velvet. Made of cotton, wool, silk, or manmade fiber, often woven as double face fabric and then sheared apart. Higher pile gives bristly texture. Usually piece-dyed but may be printed. Used for coats, upholstery. Pointelle Unclipped, looped pile, 100% cotton terry cloth is highly absorbent. French Terry has a looped reverse and a knit-like face. Ticking A variety of fabrics are known as "ticking." The main weave is a closely-woven, thick yarn twill. Spaced, colored, and natural or white yarns repeated in the warp, and all natural or white in the filling, forming a stripe. Several color combinations used, as blue and white, brown and white, red and white.

Heavy warp-face sateens as well as heavy sheetings are printed and sold as ticking. Jacquard damask ticking woven in damask effects also sold for this purpose as well as other fabrics, such as drills. Toile A type of decorating pattern consisting of a white or off-white background on which a repeated pattern depicting a fairly complex scene, generally of a pastoral theme such as (for example) a couple having a picnic by a lake. The pattern portion consists of a single colour, most often black, dark red, or blue. Greens and magenta toile patterns are less common but not unheard of. Wool is naturally stain and wrinkle resistant. It can absorb up to 40% of it’s weight in moisture without feeling damp. Wool comes in many forms including crepe, challis, gabardine, merino, melton, jersey and worsted wool suitings. Wool Crepe A lightweight worsted fabric with a more or less crinkly appearance, obtained by using warp yarns that are tightly twisted in alternate directions. The term is often applied to lightweight worsted fabrics for women's wear that have little or no crepe surface. Woven Fabric Fabrics composed of two sets of yarns.

One set of yarns, the warp, runs along the length of the fabric. The other set of yarns, the fill or weft, is perpendicular to the warp. Woven fabrics are held together by weaving the warp and the fill yarns over and under each other. Textile Printing Process Home » Knowledge Center » Fiber to Apparel » Printing Printing When colored patterns and designs are applied to a finished fabric for its decoration, it is called 'Printing'. In printing, the color is firmly affixed to the fiber so that it may not be affected by washing and friction. Textile printing is related to dyeing in the sense that in both the processes color is applied to the fabric. The difference lies in the fact that in dyeing, the color is applied uniformly to the whole fabric whereas in printing one or more colors are applied to it in selected parts only, and in sharply defined patterns. The Dyes used for printing mostly include vat, reactive, naphthol and disperse colors which have good fastness properties. Pigments are also used extensively for printing. These colors are fixed to the fiber through resins that are very resistant to laundering or dry cleaning.

Improved resins, better pigments or more effective anticrock agents are used to counter the problem of croaking colors on a printed fabric. Some prints are made from basic colors mixed with tartar emetic and tannic acid but they are not very acceptable in todays market. For cotton printing vat and reactive dyes are generally used. Silk is usually printed with acid colors. Wool is printed with acid or chrome dyes but before printing it is treated with chlorine to make it more receptive to colors. Manmade fibers are generally printed with disperse and cationic dyes. Methods of Printing For printing color on a fabric, mostly three techniques are applied: Direct Printing, Discharge Printing and Resist Printing. Direct Printing Direct Printing It is the most common approach to apply a color pattern onto a fabric. If done on colored fabric, it is known as overprinting. The desired pattern is produced by pressing dye on the fabric in a paste form. To prepare the print paste, a thickening agent is added to a limited amount of water and dye is dissolved in it. Earlier starch was preferred as a thickening agent for printing.

Nowadays gums or alginates derived from seaweed are preferred as they allow better penetration of color and are easier to wash out. Most pigment printing is done without thickeners because the mixing up of resins, solvents and water produces thickening anyway. Discharge Printing Discharge Printing In this technique, the fabric is dyed in piece and then it is printed with a bleaching agent that destroys the color in the designated areas. Sometimes, the base color is removed and other color is printed in its place. The printed fabric is steamed and then thoroughly washed. Resist Printing Resist Printing In this technique, a resist paste is fixed onto the fabric and then it is dyed. The dye affects only those parts that are not covered by the resist paste. After dyeing, the resist paste is removed leaving a pattern on the background of the fabric.

There are various methods of printing in which one of the above three techniques is used - Block Printing, Roller Printing, Duplex Printing, Stencil Printing, Screen Printing, Transfer Printing, Jet Spray Printing, Electrostatic Printing, Photo Printing, Batik Dyeing, Tie Dyeing, Airbrush (Spray) Painting and Digital printing Block Printing Block Printing The designs are carved on a wooden or metal block and the dyestuff in paste form is applied to the design on the face of the block. The block is pressed down firmly by hand on the surface of the fabric. Roller Printing Roller Printing In this method which can be called a machine counterpart of block printing, engraved copper cylinders or rollers are used in place of hand carved blocks. When the rollers move, a repeat of the design is printed on the fabric. The printed cloth is passed into a drying chamber and then in a steam chamber where the moisture and heat sets the dye. Duplex Printing Duplex Printing Printing is done on both sides of the fabric either through roller printing machine in two operations or a duplex printing machine in a single operation. Screen Printing Screen Printing It is done either with flat or cylindrical screens made of silk threads, nylon, polyester, or metal.

The printing paste or dye is poured on the screen and forced through its unblocked areas onto the fabric. Based on the type of the screen used, it is known as 'Flat Screen Printing' or 'Rotary Screen Printing'. Stencil Printing Stencil Printing The design is first cut in cardboard, wood or metal. The stencils may have fine delicate designs or large spaces through which color is applied on the fabric. This method is very expensive and thus its use is limited. Transfer Printing Transfer Printing In this method, The design on a paper is transferred to a fabric by vaporization. There are two main processes for this- Dry Heat Transfer Printing and Wet Heat Transfer Printing. Various types of cylinders such as electrically heated cylinder, perforated cylinder etc. are used for pressing a fabric against a printed paper which transfers the pattern to the fabric Airbrush (Spray) Painting Airbrush (Spray) Painting In this method, the dye is applied with a mechanized airbrush which blows or sprays color on the fabric. Electrostatic Printing Electrostatic Printing A dye- resin mixture is spread on a screen bearing the design and the fabric is passed into an electrostatic field under the screen.

The dye- resin mixture is pulled by the electrostatic field through the pattern area onto the fabric. Photo Printing Photo Printing The fabric is coated with a chemical that is sensitive to light and then any photograph may be printed on it. Jet Spray Printing Jet Spray Printing Designs are imparted to fabrics by spraying colors in a controlled manner through nozzles. Tie Dyeing Tie Dyeing Firm knots are tied in the cloth before it is immersed in a dye. The outside portion of the immersed fabric is dyed but the color does not penetrates the inside portions of the tied knots. There are various forms of Tie dyeing like Ikat Dyeing where bundles of warp and/ or weft yarns are tie dyed prior to their weaving. In Plangi Dyeing the gathered, folded or rolled fabric is usually held with stitching to form specific patterns. Batik Dyeing Batik Dyeing It is a resist dyeing process. Designs are made with wax on a fabric which is then immersed in a dye. The portion not having wax absorbs the color. Digital printing Digital printing In this form of printing micro-sized droplets of dye are placed onto the fabric through an inkjet printhead.

The print system software interprets the data supplied by a cademic_Textile digital image file. The digital image file has the data to control the droplet output so that the image quality and color control may be achieved. This is the latest development in textile printing and is expanding very fast. Flocking Flocking is the technique of depositing many small fiber particles, called "flock" onto a surface of a fabric to produce design. Instead of dyes, an adhesive is used to affix the flocks on the fabric. Then, roller printing produces design on its surface. Nowadays, this is done by the application of high-voltage electric field too. Flocks of cotton, wool, rayon, nylon and acrylic are all used for the purpose. Fabric decoration techniques used in Aboriginal and Torres Strait Islander textile design For thousands of years colour and pattern have been added to otherwise plain cloth through the application of dyes and paints. The methods used have ranged from finger painting with natural pigments to contemporary computerised printing. The nature of the designs, however, have been determined less by the availability of colouring agents than by the practices, beliefs, legends and fashions of the cultures that produce them.

Some textiles are believed to bring luck, some rain, some protect the wearer from evil spirits, some tell narrative stories of events and some simply identify clan. Painting Painting on cloth is one of the freest and most readily adaptable ways of creating surface pattern on textiles. Virtually any type of fabric can be hand-painted for any number of uses. Fabrics can range from sheer silk to coarse cottons and corduroys. The range of design is unlimited and the effects which can be achieved are only limited by the imagination. There are also many different colouring materials. Resist dyeing Resist dyeing is a means of decorating cloth by protecting selected areas from dye penetration. This may be achieved by covering the areas with a resistant substance, such as wax or rice paste, or by stitching and tying either the finished cloth or the yarns from which it is to be woven (ikat). Even when stamps or stitching are used, resist dyeing is extremely labour intensive. Batik is a resist-dye technique. It is practised in many cultures, including Indonesia, Thailand, Malaysia, Africa, China and Australia.

In Australia, Aboriginal and Torres Strait Islander communities such as Ernabella Arts and Utopia are applying the technique to the production of fabrics illustrating traditional and contemporary themes. The most common method of batik is to draw on one or both sides of a textile with hot wax or rice paste. After dyeing, the resist material is removed by boiling, melting or scraping. The process is repeated for each desired colour. Glory Ngale uses a tjanting to apply the wax to the silk. Photo: Grace Cochrane. Printing In printing, coloured designs are applied to the surface of the cloth in the form of patterns. Colour is usually applied as paste containing pigments and a binding material. This is fixed by steaming or heating, and the excess colour removed by washing. Designs may be printed with stamps or carved wooden blocks, an art requiring great skill and accuracy on the part of both printer and block-maker. Polystyrene blocks are another alternative material for the block. Silk screen-printing is basically a stencilling process. The stencil carries the design to be printed. The screen consists of gauze stretched on a frame.

Francesca Puruntatameri (left) and Thecla Puruntatameri screen-print fabric at Munupi Arts on Melville Island. (Desart, 2001: 43) Photo: Barry Skipsey. Courtesy: Barry Skipsey. Activity Design a motif inspired by the Australian bush. Consider the colour ways you could use: related colour harmonies, such as - monochromatic contrasting colour harmonies, such as - complementary - triad. 2. Apply the design to fabric using batik, screen-printing or hand-painting. Hand-painting techniques could include using twigs as brushes, straws for blowing paints, or leaves, grasses or seeds as imprints. 3. Textile Fabric Printing,Textile Printing Processes,Fabric Printing Processes Home » Textile Processes » Printing Process Printing Process Applying coloured patterns and designs to decorate a finished fabric is called 'Printing' . In a proper printed fabric, the colour is affixed to the fiber, so that it may not be affected by washing and friction. Whether a fabric is dyed or printed can be known by examining the outline of the design. On a printed fabric, the outline of a design is sharply defined on the outer side.

The design generally do not penetrate to the back of the cloth. However, the design may show up on the reverse side of transparently thin fabrics. These fabrics may be confused with the woven designs where yarn dyed warp and filling are used. If the design is printed on such a fabric, the yarns will show some areas on which colour is not equally distributed. The Dyes used for printing mostly include vat, reactive, naphthol and disperse colours which have good fastness properties. The pigments, which are not truly dyes, are also used extensively for printing. These colours are fixed to the fiber through resins that are very resistant to laundering or drycleaning. Pigments are among the fastest known colours and are effective for light to medium shades. If used for applying dark colours, they may crock or rub off. Improved resins, better pigments or more effective anticrock agents must be used to solve this problem. Cheap prints are made from basic colours mixed with tartar emetic and tannic acid but they are not acceptable in todays market. For cotton printing vat and reactive dyes are generally used. Silk is usually printed with acid colours.

Wool is printed with acid or chrome dyes but before printing it is treated with chlorine to make it more receptive to colours. Manmade fibers are generally printed with disperse and cationic dyes. Methods of Printing Three different approaches or techniques are prevalent for printing colour on a fabric: Direct, Discharge and Resist Direct Printing It is the most common approach to apply a colour pattern on fabric. It can be done on white or a coloured fabric. If done on coloured fabric, it is known as overprinting. The desired pattern is produced by imprinting dye on the fabric in a paste form. To prepare the print paste, a thickening agent is added to a limited amount of water and dye is dissolved in it. Earlier corn starch was preferred as a thickening agent for cotton printing. Nowadays gums or alginates derived from seaweed are preferred because they are easier to wash out, do not themselves absorb any colour and allow better penetration of colour. Most pigment printing is done without thickeners as the mixing up of resins, solvents and water itself produces thickening. Discharge Printing In this approach, the fabric is dyed in piece and then it is printed with a chemical that destroys the colour in the designed areas.

Sometimes, the base colour is removed and another colour is printed in its place. The printed fabric is steamed and then thoroughly washed. This approach is on decline these days. Resist Printing In this technique, a resist paste is imprinted on the fabric and then it is dyed. The dye affects only those parts that are not covered by the resist paste. After dyeing, the resist paste is removed leaving a pattern on a dark background. There are various methods of printing in which one of the above three techniques is used - Block Printing, Roller Printing, Duplex Printing, Stencil Printing, Screen Printing, Transfer Printing, Blotch Printing, Jet Spray Printing, Electrostatic Printing, Photo Printing, Differential Printing, Warp Printing, Batik Dyeing, Tie Dyeing, Airbrush (Spray) Painting and Digital printing Block Printing The designs are carved on a wooden or metal block and the paste dyestuff is applied to the design on the face of the block. The block is pressed down firmly by hand on the surface of the fabric. Roller Printing In this machine counterpart of block printing, engraved copper cylinders or rollers are used in place of handcarved blocks. With each revolution of the roller, a repeat of the design is printed.

The printed cloth is passed into a drying and then a steam chamber where the moisture and heat sets the dye. Duplex Printing Printing is done on both sides of the fabric either through roller printing machine in two operations or a duplex printing machine in a single operation. Screen Printing It is done either with flat or cylindrical screens made of silk threads, nylon, polyester, vinyon or metal. The printing paste or dye is poured on the screen and forced through its unblocked areas onto the fabric. Based on the type of the screen used, it is known as 'Flat Screen Printing' or 'Rotary Screen Printing'. Stencil Printing The design is first cut in cardboard, wood or metal. The stencils may have fine delicate designs or large spaces through which colour is applied on the fabric. Its use is limited due to high costs involved. Transfer Printing The design on a paper is transferred to a fabric by vaporization. There are two main processes for this- Dry Heat Transfer Printing and Wet Heat Transfer Printing. In Conventional Heat Transfer Printing, an electrically heated cylinder is used that presses a fabric against a printed paper placed on a heat resistant blanket.

In Infrared Heat Vacuum Transfer Printing, the transfer paper and fabric are passed between infrared heaters and a perforated cylinder which are protected from excessive heat by a shield. The Wet Heat Transfer Printing uses heat in a wet atmosphere for vaporizing the dye pattern from paper to fabric. Blotch Printing It is a direct printing technique where the background colour and the design are both printed onto a white fabric usually in a one operation. Any of the methods like block, roller or screen may be used. Airbrush (Spray) Painting Designs may be hand painted on fabric or the dye may be applied with a mechanized airbrush which blows or sprays colour on the fabric Electrostatic Printing A dye- resin mixture is spread on a screen bearing the design and the fabric is passed into an electrostatic field under the screen. The dye- resin mixture is pulled by the electrostatic field through the pattern area onto the fabric. Photo Printing The fabric is coated with a chemical that is sensitive to light and then any photograph may be printed on it. Differential Printing It is a technique of printing tufted material made of yarns having different dyeing properties such as carpets. Upto a ten colour effect is possible by careful selection of yarns, dyestuffs and pattern.

Warp Printing It is roller printing applied to warp yarns before they are woven into fabric. Tie Dyeing Firm knots are tied in the cloth before it is immersed in a dye. The outside of the immersed portion is dyed but the inside is not penetrated. There are various forms of Tie dyeing like Ikat Dyeing where bundles of warp and/ or weft yarns are tie dyed prior to their weaving. In Plangi Dyeing the gathered, folded or rolled fabric is usually held with stitching to form specific patterns. Batik Dyeing It is a resist dyeing process. Designs are made with wax on a fabric which is then immersed in a dye. The unwaxed portion absorbs the colour. Jet Spray Printing Designs are imparted to fabrics by spraying colours in a controlled manner through nozzles. Digital printing In this form of printing micro-sized droplets of dye are placed onto the fabric through an inkjet printhead. The print system software interprets the data supplied by a cademic_Textiledigital image file. The digital image file has the data to control the droplet output so that the image quality and color control may be achieved. This is the latest development in textile printing and is expanding very fast.

Digital Textile Printing Know More Introduction To Batik + Add To Cart Batik - Introduction Batik is a wax resist fiber art. Hot wax is applied to fabric in a design. The wax serves as a resist, preventing the dye from reaching the fabric where it was applied. This technique can be applied in layers with different colors. The Batik effect is unique in that the wax cracks during handling, either intentionally or not. In each dye bath, the cracks in the wax allow the dye to reach the fabric creating the unique batik effect . Batik can be done on cottons, silks and other natural fabrics. "Faux" batik employs other types of resists, particularly water soluble ones, that are easier to remove than wax, but never quite achieve the same beautiful crackling. Dharma Procion MX Fiber Reactive Dyes are the dye of choice for batik on cotton because they are used with cold water. Artwork by Sue C. Duda Batik masters employ the process of repeated waxing and tub dyeing to achieve their final result. This method involves an understanding of color mixing and overdyeing , as each layer of dye is applied over the last, producing a new color.

After many different applications, the background tends towards dark brown, black or grey. The waxed areas remain the lighter shades produced by each individual dye application and combinations thereof. Waxing and Immersion Method First, pre-wash your fabric, ideally with a professional dyer's product called Synthrapol . This removes most oils, sizings, and pre-shrinks the fabric. It is best to use "PFD" (Prepared For Dyeing) fabric or "RTD" (Ready To Dye) fabric that is for sure not treated with finishes like permanent press, which will keep the dye from attaching. Iron out any wrinkles. Stretch the fabric on a Frame or Hoop that will keep the fabric flat and horizontal. Use pre-mixed Batik Wax , or your own combinations of Beeswax or Sticky Wax and Paraffin waxes . The more Paraffin, the more the wax will crackle. By themselves, Beeswax and Sticky wax don't crackle and Parafin wax crackles too much. The wax mixture is then melted in a double boiler, electric wax pot, or old electric frying pan set at about 220-240 (CAREFUL!

If you heat the wax over it's flash point it can give off toxic smoke or burst into flames!) Apply the wax, using tools like the Tjanting or the Deluxe Tjanting for outlining, and natural fiber brushes to fill in areas. Wax designs can be repeatedly stamped onto the fabric with metal stamps called "chops", like they do in Indonesia, but they have to be symmetrical so they can be lined up and stamped in exactly the same spot on the reverse side of the fabric so that no dye will penetrate. When applying wax, no matter what method you are using, regulate the temperature so that it penetrates the fabric, not so cool that it just turns yellowish and sits on top, and not so hot that all your lines spread out too much. The wax should have a clear appearance, indicating it has penetrated to the other side. To make things easier, use an Electric Tjanting which can be regulated with a rheostat, so it maintains the wax at the correct temperature. Mix up Dharma Procion MX Fiber Reactive Dye as instructed for tub dyeing .

Tub dye the fabric, first using the lightest color that will be on the piece and will mix well with successive colors, such as yellow, then the next dye bath could be turquoise, which would actually mix with the yellow to dye the fabric green in all the areas where the yellow was not waxed over. Remember - after Soda Ash has been added to the dyebath, don't leave your waxed fabric in for more than 30 minutes more, as soda ash eats away the wax eventually, exposing areas to unwanted dye. Rinse and gently hand wash the fabric in Synthrapol and allow to dry. Use cool water so as not to melt your wax! Repeats steps 2-6 for each color you plan for your batik, waxing areas after each dyebath that you want to remain that most recent color, and re-waxing any areas that look erroded. Tub dye your darkest areas last. The final mix of colors at the end will be a brown, grey or black, combining all of the colors used on the piece. Hint - Do a test strip first with all of the colors you are planning to use to make sure they are combining like you want.

Wax removal can be accomplished in one of four ways: Take it to the dry cleaners and let them get it out. (Some won't do it for you) Boil the wax out. This is the oldest form of batik wax removal. Choose a pot that will comfortably hold your fabric and fill with water and a dash of Synthrapol to get the wax and any remaining excess dye away from the fabric. Bring to a simmer/boil and add fabric. Use something to stir the fabric around in the boiling water and keep it submerged. After a few minutes, the wax will boil out of the fabric and float to the top. When the wax seems completely removed from the fabric, remove from heat and allow the water to cool. Be sure that the fabric sits on the bottom of the pan, avoiding the floating wax residue. Allow to cool and peel the hardened wax off the surface and remove the fabric. In Indonesia, people skim the hot melted wax off the boiling vats with big perforated ladles. Whatever works! Iron the wax out. This is also a traditional wax removal process. The fabric is sandwiched between layers of absorbent paper such as Newsprint and heat is applied by iron, to melt the wax out.

This process often leaves a wax residue (looks like a grease spot) that is very difficult to remove, so it is not recommended. Use hot tap water. Hang the finished piece on a line. Attach a hose to a hot water spigot, turn your water heater up all the way and run hot water over the piece to melt the wax off. A collection tub should be placed under the fabric to catch the wax and water. Customer Comments Batik Instructions (Dyeing something a solid color is also known as Tub Dyeing. The Tub Dye Technique is described here in more detail.) Click here for Paint-On Method Batik Instructions . This method uses repeated layers of wax and dye applied to the fabric, yielding an overlapping color design. If you plan to do multiple layers you will want to dye your colors from lightest to darkest. Step 1: Pre-wash your fabric to remove any impurities that might interfere with dyeing. We recommend using Synthrapol for this. Step 2: Pre-dye a few of your fabrics in some different base colors, we did some in #3 Golden Yellow and #25 Turquoise.

Step 3: Start melting your premixed Batik Wax in the little melting pot, or for bigger projects, in a double boiler, electric wax pot, or old electric frying pan set at about 220-230°F ** Step 4: Stretch the fabric on a Frame or Hoop, that will keep the fabric flat and horizontal or you can work on some newsprint paper or a piece of cardboard if you don't have a frame. This is often easier with larger pieces of fabric. Step 5: Start applying your wax with tools of your choice... You can use Tjanting tools to create detail and fine line designs. We used the single spout Tjanting to create this fun leaf pattern. A double spouted Tjanting can give you fun effects or parallel lines. We used it to make a wavy random design across this fabric. Brushes are very easy to use for larger designs and are a great way to get kids in on the fun. Make bold designs like circles, stripes and funky polkadots.

In Indonesia, wax designs are repeatedly stamped onto the fabric with intricate metal stamps made of copper called Tjaps or Caps (pronounced "chops") but you don’t need anything so fancy to start. We stamped this fabric with a squiggly potato masher (photo). Pro-Tip: You can make fun stamps out of just about anything that will take the heat of the wax: the cut ends of some veggies like celery bundles and bell peppers can make fun prints. Look around and experiment. Remember: When applying wax, no matter what method you are using, regulate the temperature so that it penetrates the fabric; not so cool that it just turns yellowish and sits on top, and not so hot that all your lines spread out too much. The wax should have a clear appearance, indicating it has penetrated to the other side. Flip fabric over and apply wax anywhere it has not. Thin layers of very hot wax will often allow some dye to stain the fabric under the wax, whereas a thicker buildup will keep the wax off.

Step 6: Tub Dye the fabric , first using the lightest or brightest color that will be on the piece and will mix well with successive colors, for example yellow; then the next dye bath could be turquoise, which would actually mix with the yellow to dye the fabric green in all the un-waxed areas. Remember, after Soda Ash has been added to the dyebath, don't leave your waxed fabric in for more than 30 minutes more, as soda ash eats away the wax eventually, exposing areas to unwanted dye. Step 7: Rinse and gently hand wash the fabric in Synthrapol and allow to dry. Use lukewarm water so as not to melt your wax! Step 8: Repeat steps 2-6 above for each color you plan for your batik, waxing areas after each dyebath that you want to remain that most recent color, and re-waxing any areas that look eroded from the Soda Ash. Tub dye your darkest areas last. Step 9: Remove the Wax using one of these methods: Boil the wax out.

Choose a pot to become your official wax pot that will comfortably hold your fabric and fill with water and a dash of Synthrapol, or other liquid detergent, to get the wax and any excess dye away from the fabric. Bring this to a simmer and add fabric. Stir the fabric around in the boiling water keeping it submerged. After a few minutes the wax will melt out of the fabric and float to the top. When the wax seems completely removed from the fabric, remove from heat and allow the water to cool. Be sure that the fabric sits on the bottom of the pan, avoiding the floating wax residue. You can weigh it down with rocks or something heavy. Allow to cool, then peel the hardened wax off the surface and remove the fabric. Pro-Tip:You can reuse this wax for your next project as long as the water has dried out of it. Iron the wax out. Sandwich your fabric between layers of absorbent paper and iron, to melt the wax out. This process often leaves a wax residue that looks like a grease spot and won’t come out, so it is not our favorite.

Step 10: Wash your fabric one last time in the washing machine with Synthrapol to remove any left over dye you couldn’t get out by hand. Dry your fabric. Now you can get to sewing, quilting, wrapping or just hang it up because it looks so good you can’t bare to cut it up! **Note: BE CAREFUL! If you heat the wax over 240°F, it can give off toxic smoke or burst into flames! Work with hot wax in a well ventilated area (it gives off fumes) and never leave hot wax unattended! In case of flaming emergency, DO NOT douse flaming wax with water! You can douse the flames with baking soda or a fire extinguisher. However, if you use the appliances recommended above, and exercise prudence and care, you should be able to control the temperature of the wax safely. We NEVER recommend using pots directly on the stove! Some folks are trying out our new Soy wax , which melts at a much lower temperature than the other waxes, reducing the chances of overheating.

It is not as sturdy as the other waxes, especially on exposure to the soda ash, but folks are carefully working with its limitations because it is a renewable resource and totally non-toxic, including the fumes. Shopping list:

Question: In which type of fabric printing are designs applied in wax
Answer: Batik